Although Bait is a British-set show, its writers' room was held in Los Angeles, commissioned by the LA office of Prime Video and then produced by Prime's UK office — illustrating how globalized the industry has become.
Where this was said
At 10:30 · chapter starts 10:15
When Mendoza asks about the differences between working in the UK and Hollywood, Ahmed begins with the observation that the lines are increasingly blurred — Bait itself had a LA writers' room, a London production, and a Los Angeles commissioning office. But the more interesting divergence is creative: when you're a smaller fish, you have no choice but to lean into the hyper-specificity of your subculture and experience. Ahmed argues this is why British television keeps producing shows like Fleabag, I May Destroy You, and Baby Reindeer — left-field, particular, specific — that break out globally precisely because they don't try to appeal to everyone. He extends the point to Iranian cinema, where extreme resource limitations and restricted market access have produced exceptional storytelling. Creativity, he argues, is bred from necessity. [1] — Riz Ahmed "UK creativity bred from fewer resources: Ahmed argues that the UK's smaller film budgets force hyper-specificity, which paradoxically drive…" 10:58
When you can't afford to appeal to everyone, you have no choice but to go niche — and niche is exactly what breaks out. Fleabag, I May Destroy You, Baby Reindeer: all proof that UK television's resource constraints are secretly its greatest creative asset.
Ahmed argues that the UK's smaller film budgets force hyper-specificity, which paradoxically drives breakout hits like Fleabag, I May Destroy You, and Baby Reindeer.
Ahmed uses Iranian cinema as a global example of how creative limitations — restricted resources and market access — can paradoxically spur exceptional storytelling.
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Bhanu grew SiteGPT to $13,000 monthly recurring revenue entirely through organic channels, spending nothing on paid marketing.
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